Download - Pinacothèque de Paris

More documents

Recommendations

Info

oils featuring the conceit of giant brushstrokes across the canvas. The following year, he creates land and seascapes using industrial material such as Plexiglas, metal, motors, lamps and multi-lensed plastic called Rowlux, which gives the illusion of shimmer. In 1967, he begins his Modern paintings series inspired by the Art Deco motifs of Radio City Music Hall in Manhattan’s Rockefeller Center and introduces the look of graduating Benday dots in his work. That fall, he creates his first large-scale editioned sculptures in brass and tinted glass based on Deco patterns. Modular paintings soon follow with repeated design imagery. In 1968, Lichtenstein marries Dorothy Herzka whom he had met earlier at the Bianchini Gallery in New York. Lichtenstein’s work appears twice on the cover of Time magazine that year. In 1969, inspired by serial imagery of Claude Monet, Lichtenstein introduces the subject of haystacks and Rouen Cathedral seen at different times of day. The motif launches his return to printmaking in earnest and begins his long-term collaboration with Gemini G.E.L. in California. He also makes his first and only film for LACMA’s Arts and Tecnology project. Mirrors and entablatures dominate his production in 1970. The following year, Lichtenstein leaves Manhattan to live and work full time in Southampton, on the eastern end of Long Island. Borrowing motifs from the works of Modern masters, Lichtenstein spends the next years creating still lifes that synthesize his, and their, signature styles. He also begins to experiment with newcolors and surface textures in his paintings. Bronze enters his repertoire of materials in 1977 in the form of painted large-scale sculptures of illuminated lamps, pitchers on tables, and steaming cups of coffee. The following year, he reintroduces Native American subjects to his oeuvre. By the end of the decade, Lichtenstein’s Still Lifes, Heads and Landscape studies have run the gamut of stylistic conceits from Cubism to Surrealism and German Expressionism. In the 1980s, Lichtenstein decides to re-establish a studio in Manhattan, first taking space on East 29th Street and later buying a building in Manhattan’s West Greenwich Village meatpacking district. He turns his focus to the markings of abstract style. Exploring ideas about Abstract Expressionism, he juxtaposes unstructured brushwork alongside his signature replicas of brushstrokes. Several years later, beginning in 1985, geometric abstraction receives similar attention in his Perfect, Imperfect and Plus and Minus series. By the decade’s close, reflection is a predominate theme of his work where iconic and less familiar motifs of his Pop art repertoire are reconfigured in a bold new compositional format. Colossal home interiors culled from small ads in the telephone yellow pages are 16
Lichtenstein’s next new series of the 1990s. Frolicking nudes follow these by the middle of the decade. The decade also witnesses his completion of a number of public and private large-scale sculptural and painting projects. Lichtenstein’s investigations of illusionism, abstraction, serialization, stylization and appropriation continue in every media in the 1990s. As a distinguished painter, sculptor and printmaker he receives numerous honorary degrees and international prizes. He is awarded the National Medal of Arts in 1995. At the time of his deathin 1997, at age 73, he had just begun investigating another new fabricated reality, so called “virtual paintings.” Coda : Early in the 1990s the artist and his family made provisions for the eventual establishment of a private operating foundation to facilitate public access to his art and the art of his time. The Roy Lichtenstein Foundation was formally staffed and launched in September 1999. Clare Bell 17
Page 2 and 3: S U M M A R Y I n t r o d u c t i o
Page 4 and 5: ROY LICHTENSTEIN ÉVOLUTION : Befor
Page 6 and 7: Superficially, approximately one ha
Page 8 and 9: During its 34 years of artistic exi
Page 10 and 11: THE EXHIBITION: “Roy Lichtenstein
Page 12 and 13: ROY LICHTENSTEIN: Biography Roy Fox
Page 14 and 15: outlines that embody he whimsical,
Page 18 and 19: SCENOGRAPHY Laurent Guinamard-Casat
Page 20 and 21: 18. Collage for The Sower, 1984 Tap
Page 22 and 23: 56. Drawing for Endless Drip, 1995
Page 24 and 25: 96. Collage for Nude, 1997 Tape, pa
Page 26 and 27: Nude with Pyramid, 1994 Oil and Mag
Page 28: Collage for Nude, 1997 Tape, painte

Download - Pinacothèque de Paris

Create successful ePaper yourself

Delete template?

Save as template?